Veteran screenwriter and lyricist Javed Akhtar has pointedly criticized the functioning of film regulatory bodies in India, highlighting the disparity in how films are censored. He argues that movies reflecting societal realities often face challenges, whereas those laden with vulgarity and regressive values find it easier to pass through the censors’ scrutiny.
Speaking during the inaugural session of the Anantrang Mental Health Cultural Festival on Friday, Akhtar highlighted the pivotal role audience choices play in determining the success of cinematic offerings. He stated, “In this country, vulgarity will still be passed by the film boards. They don’t realise that these are wrong values — a male chauvinistic view that humiliates women. But what will not be passed is something that shows the mirror to society.”
His remarks came as he emphasized that films merely reflect the realities of society and should not be held accountable for them. He used a compelling metaphor, saying, “A film is a window into society through which you peek. Closing the window will not fix what is happening outside.”
Akhtar also delved into the issue of hyper-masculine portrayals in films, linking them directly to mental health concerns. He suggested that the popularity of such cinema hinges on societal acceptance. “It is because of the mental health of men that such films are being made. If men’s mental health improves, such films won’t be made — and even if they are, they won’t work,” he articulated.
He drew an insightful parallel, stating, “In show business, the audience is god. A bad audience makes a bad film successful.” This statement underscores the sentiment that discerning audience choices can help elevate the quality of cinema produced.
On the topic of vulgar songs and a perceived decline in artistic taste, Akhtar expressed his discontent. He recounted how throughout his illustrious career, he consistently turned down requests to write vulgar tracks. “During the 80s, many songs had double meanings, but I refused to write them. I’m not sad that people recorded them; I’m sad that those songs became superhits. That shows it’s the audience that shapes the industry,” he lamented.
Additionally, he mentioned the controversial yet iconic song “Choli Ke Peeche Kya Hai,” arguing that parents proudly allowing their daughters to dance to such tracks reflect a troubling decline in societal values. He concluded, “If these are the values of society, what can you expect from films and songs? Society is responsible — cinema is only a manifestation.”
Despite his critique, Akhtar did praise the recent film Saiyaara, directed by Mohit Suri and featuring newcomers Ahaan Panday and Aneet Padda. He described its music as “refreshingly calm and soulful,” stating, “The music of Saiyaara has a stillness, an old charm. Today, music has become so frantic that percussion drowns the voice. When something soothing comes, it feels like shade in harsh sunlight.”
When discussing artistic expression and emotion, Akhtar provided a thoughtful perspective on the impact of sad songs. He noted that denying sadness can lead to negative repercussions: “It’s not good to deny sadness; otherwise, it will resurface elsewhere. Earlier, every film had one or two sad songs, but now they’ve vanished because we believe ‘achhe din aa gaye hain’. This denial of sadness is unhealthy — accept it, cry if you must. That’s what keeps the mind healthy,” he concluded with a smile.
